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Posts: 892
Reply with quote  #16 
I was partially incorrect earlier so let me correct my self, elaborate and expand on this favorite tabla piece...

Ok so here is some commentary on the Thrakawa Khan Saheb's recording starting at 4:00.

Other people's comments and analysis appreciated. Maybe be David can chime in as well.

I listened to the Thirakawa Khan Saheb's recording several times and also made my guruji listen to it over the phone and got the the report is as follows:

Word on the street back then was that this rela composition was by Ustad Mia Salari Khan Saheb originally the student of Ustad Bakshu Pakhwaji and later the senior disciple of Ustad Haji Vilayat Ali Khan Saheb. Ustad Thirakawa and Ustad Amir Hussain Khan Saheb used to play endless variations of this rela with amazing ease and speed, clarity and sweetness. They pretty much popularized this into the tabla circuit. Now a days every one plays this, but personally, I love the complete package that Thirakawa khan saheb and Amir Hussain Khan Saheb present.

The piece is based on a variation of a teen taal that goes like this

Dha A Dhin Dha | Dha A Dhin Dha | Dha A Tin Ta | Ta A Dhin Dha

Played something like:

Dha A Dhine Dha | Dha A Dhine Dha | Dha A Tine Ta | Ta A Dhine Dha

Most people in the second bar play Dhage s Dhine Dha or use their own flavors of bass where the dhins turn into "Ding". The rela part is fillers of tirakittak starting with Dhin but very crafty. First, its played tiragittak second, very selectively tiragittag is replaced with tirghidnag i.e. the tag in tiragittag is played on the kinar. Additionally, the bol "DhiNeTag" is introduced based on the time structure, which is half of "DhinTiRaGitTag" Let's see who can figure it out. :-)

The beauty of the piece is equally dependent on the structure or the pattern of the flow in addition to the bols. The structural pattern of the flow can result in endless variations, which is suppose is creativity.

Anyway, later several other players preceded this rela with Chalan's (again mostly composed by Ustad Salari Khan Saheb) or turned it into a Gathang Rala (A Gat that follows the pattern of a Rela). Regardless, all these compositions followed the Teen Taal structure above.

We can make Chalan and Gatang Rela another topic I suppose. I have posted some Ustad Mia Salari Khan's chalans before.

Pandit Nageshkar ji plays this brilliantly and seems to enjoy it himself :-) He also opens his performance around 0:08 seconds with the teen taal pattern above, which he plays straight then with Dhage and then with Ding before be breaks out into the Rela. He does not play a Chalan according to my observations and that is where I was too quick and incorrect earlier.

Hope this helps.

Senior Member
Posts: 513
Reply with quote  #17 
Thanks again H - this is extremely helpful and your help is greatly appreciated. I know what I will be watching for the next few days.
My karma ran over your dogma

Posts: 892
Reply with quote  #18 
Glad you liked. I am no expert by any means. Btw also look at page 23 of the book mentioned previously within the contect of my remark surrounding the structure in the previous post. In other words, the "chaal" of this rela will reveal the secret and not so much of the bol.

In my opinion and in talking with others, this is one of the difficult relas to write or notate regardless of the language
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